What a condescending conclusion (the last two paragraphs) to an otherwise favorable review. The reviewer seems to imply that the Irish Rep sometimes gets things right, despite the fact that it doesn’t do ”razzmatazz productions” or get “the latest ‘hot’ director” to direct its plays. For serious theatergoers, the fact that the Irish Rep consistently produces intelligent and enjoyable plays without resorting to “razzmatazz” or “hot directors” is something to be grateful for, not something to apologize for.
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@Bree . . . Consider how much better this review might have been if written by a "razzmatazz" critic. The O'Casey Cycle is among the best theatre in NYC this year ... How this could have possibly been done without Ivo van Hove's overtaxed talent must boggle some minds.
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What a contrast between two production: a play of Sean O'Casey, a real working class member of Larkin's Irish Citizen Army, and playing across town at the same time, that unanimously acclaimed, great "Irish" play, The Ferryman, written by an Englishman who has lived all his life in London, Jez Butterworth. These days, anyone who fought for Ireland's freedom from England must be depicted as an imbecile, a gangster or a terrorist.
@Red Allover, plays and musicals of all points of view are being written and produced, seen online, etc, But "The Ferryman" after its London success is on Broadway because enough investors believed it was good business, that enough seats in a 1,000-seat theater could be sold to turn at least some profit, or at least enough to do that after going on the road. otherwise, they would have taken pride in their UK success, maybe offered it in the onscreen series in the US, and not brought it here.
On the other hand, Irish Rep (the Public, CSC, the New Group, LCT, etc) does do work for limited runs that can't possibly financially recoup based on only box office, even if the run sellout at full price.
Something might sell in Branson and seem like a good investment there, that might even have some actors really not wanting to take the job in NYC.
@Red Allover
O'Casey lived most of his life in England, BTW.
Sets by: Charlie Corcoran
Costumes by: Linda Fisher & David Toser
Lighting by: Michael Gottlieb
Sound Design by: Ryan Rumery & M. Florian Staab
Properties by: Deirdre Brennan
Production Stage Manager: April Ann Kline
Assistant Stage Manager: Kate
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